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THE AMERICAN ART ASSOCIATION 
DESIGNS ITS CATALOGUES AND DIRECTS 
ALL DETAILS OF ILLUSTRATION 
TEXT AND TYPOGRAPHY 


ON PUBLIC EXHIBITION 
AT THE AMERICAN ART GALLERIES 


MADISON SQUARE SOUTH, NEW YORK 
ENTRANCE, 6 EAST 23rp STREET 


BEGINNING THURSDAY, MARCH 18tu, 1920 
AND CONTINUING UNTIL THE TIME OF SALE 


THE ETCHINGS AND ENGRAVINGS OF 
WALTER THOMAS WALLACE 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 


BY ORDER OF MR. WALLACE 


ON FRIDAY EVENING, MARCH 26, 1920 
AT 8:30 O’CLOCK 


AT THE AMERICAN ART GALLERIES 


nc nay 


t 


PAUL RAJON 
Suzanna Rose 
[No. 82] 


ILLUSTRATED CATALOGUE 


ETCHINGS AND ENGRAVINGS OF 
WALTER THOMAS WALLACE | 


OF SOUTH ORANGE, NEW JERSEY 


TO BE SOLD WITHOUT RESERVE OR RESTRICTION 
BY ORDER OF MR. WALLACE 


ON FRIDAY EVENING, MARCH 26, 1920 
AT 8:30 O’CLOCK 


THE SALE TO BE CONDUCTED BY 


MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF -'\ ~ 


THE AMERICAN ART ASSOCIATION, Manacers 


NEW YORE CITY 


Conditions of Sale 


1. Any bid which is merely a nominal or fractional advance may be rejected by 
the auctioneer, if, in his judgment, such bid would be likely to affect the sale in- 
juriously. 

2. The highest bidder shall be the buyer, and if any dispute arise between 
two or more bidders, the auctioneer shall either decide the same or put up for 
re-sale the lot so in dispute. 

3. Payment shall be made of all or such part of the purchase money as 
may be required, and the names and addresses of the purchasers shall be given 
immediately on the sale of every lot, in default of which the lot so purchased 
shall be immediately put up again and re-sold. 

Payment of that part of the purchase money not made at the time of sale, 
shall be made within ten days thereafter, in default of which the undersigned may 
either continue to hold the lots at the risk of the purchaser and take such action 
as may be necessary for the enforcement of the sale, or may at public or private 
sale, and without other than this notice, re-sell the lots for the benefit of such pur- 
chaser, and the deficiency (if any) arising from such re-sale, shall be a charge 
against such purchaser. 

4. Delivery of any purchase will be made only upon payment of the total 
amount due for all purchases at the sale. 

Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., 
and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. 

Delivery of any purchase will be made only at the American Art Galleries, or 
other place of sale, us the case may be, and only on presenting the bill of purchase. 

Delivery may be made, at the discretion of the Association, of any purchase 
during the session of the sale at which it was sold. 

5. Shipping, boxing or wrapping of purchases is a business in which the 
Association is in no wise engaged, and will not be performed by the Association 
for purchasers. The Association will, however, afford to purchasers every facility 
for employing at current and reasonable rates carriers and packers; doing so, how- 
ever, without any assumption of responsibility on its part for the acts and charges 
of the parties engaged for such service. 

6. Storage of any purchase shall be at the sole risk of the purchaser. ‘Title 
passes upon the fall of the auctioneer’s hammer, and thereafter, while the Assc- 
ciation will exercise due caution in caring for and delivering such purchase, it 
will not hold itself responsible if such purchase be lost, stolen, damaged or 
destroyed. 

Storage charges will be made upon all purchases not removed within ten days 
from the date of the sale thereof. 

7. Guarantee is not made either by the owner or the Association of the cor- 
rectness of the description, genuineness or authenticity of any lot, and no sale will 
be set aside on account of any incorrectness, error of cataloguing, or any imper- 
fection not noted. Every lot is on public exhibition one or more days prior to its 
sale, after which it is sold “as is” and without recourse. 

The Association exercises great care to catalogue every lot correctly, and will 
give consideration to the opinion of any trustworthy expert to the effect that any 
lot has been incorrectly catalogued, and, in its judgment, may either sell the 
lot as catalogued or make mention of the opinion of such expert who thereby 
would become responsible for such damage as might result were his opinion with- 
out proper foundation. 

SPECIAL NOTICE. 

Buying or bidding by the Association for responsible parties on orders trans- 
mitted to it by mail, telegraph or telephone, will be faithfully attended to without 
charge or commission. Any purchase so made will be subject to the above Condi- 
tions of Sale, which cannot in any manner be modified. The Association, however. 
in the event of making a purchase of a lot consisting of one or more books for a 
purchaser who has not, through himself or his agent, been present at the exhibition 
or sale, will permit such lot to be returned within ten days from the date of sale, 
and the purchase money will be returned, if the lot in any material manner differs 
from its catalogue description. 

Orders for execution by the Association should be written and given with 
such plainness as to leave no room for misunderstanding. Not only should the lot 
number be given, but also the title, and bids should be stated to be so much 
for the lot, and when the lot consists of one or more volumes of books or objects 
of art, the bid per volume or piece should also be stated. If the one transmitting 
the order is unknown to the Association, a deposit should be sent or reference 
submitted. Shipping directions should also be given. 

Priced copies of the catalogue of any sale, or any session thereof, will be 
furnished by the Association at a reasonable charge. 


AMERICAN ART ASSOCIATION, 
American Art Galleries, 
Madison Square South, 
New York City. 


ene eae 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


UNRESTRICTED PUBLIC SALE OF NOTABLE ETCHINGS BY ORDER OF 
MR. WALTER THOMAS WALLACE 


FRIDAY EVENING, MARCH 26th, AT 8:30 O’CLOCK 


EDWARD AUSTIN ABBEY 


American artist. Born, Philadelphia, 1852. 


ABBEY, EDWARD AUSTIN 
1. BanisHep rrom Massacuuserts. Original Pen and Wash Drawing. 


Very fine drawing carefully finished, full of action and expression, in 
a setting of a bleak winter’s evening. Signed on the stern of the 
rowboat,—H. A. Abbey. 

Height, 20; length, 2614 inches. 

From the Dutcher collection. 


The subject of the drawing is the banishment of the Quakers from 
Massachusetts, in 1660. Whittier wrote a poem on the subject of the 
drawing in 184. 


ABBEY, EDWARD AUSTIN 
2. Tur Constant Maps or Ocktry. Original Wash Drawing. 


Well rendered drawing, carefully finished, and heightened in white. 
Signed in the lower right,—H. A. Abbey. 


Height, 1414; width, 1114 inches. 
From the Dutcher collection. 


ABBEY, EDWARD AUSTIN 
3. Tue Evit Eve. Original Wash Drawing. 
Strong careful drawing, full of action, and expression, on warm 
toned paper which is used as a body color. Signed,—Hdward A. 
Abbey. 1877. 
Height, 21; length, 38 inches. 


From the Dutcher collection. 


Sale Friday Evening, March 26th 


FELIX BUHOT 


Born at Valognes, 1847; died in Paris, 1898. ‘The technie of Buhot is 
assuredly far from being simple. But he is free. He is not the slave 
of rules and formulas; he has not the least respect for arbitrary laws; 
he blends and mixes all the different means used for obtaining effects in 
black and white—whether by cutting into or corroding the plate. He is 
not the slave of any one implement.—L&ONCE BENEDITE. 


BUHOT, FELIX 
4. JAPONISME. Etching. 

Bourcard, Nos. 11 to 20. 

A series of ten etchings, including title-page, Copy No. 48, bearing 
artist’s autograph presentation inscription,—A Monsieur Edouard 
Hédowin. Hommage de son bien dévoué Felix Buhot. Other 
subjects in the collection of Monsieur Ph. Burty include,—-Gro- 
tesque Masque, Pharmacie, Génie Bronze, Boite a thé Porcelaine, 
Vase Etair Laqué, Bronze Warrior, Bronze Encrier, Butterflies, 
Japanese Junk, etc. ALL Proors, with wide margins. In port- 
folio. 7 


BUHOT, FELIX 
5. GirL ON A Donkey. Dry-point and Aquatint. 
Boureard, No. 62. 
Karly Proof, with pencil inscription in lower margin,—Lot 62 Ca- 
coletiere sur wne ane—Eglise au fond—. FINE IMPRESSION. 
Wide margins. 
Height, 33¢; length, 35% inches. 


BUHOT, FELIX 
6. Les NoctamBuLes. THE Cas. Etching. 
Bourcard, No. 69. 


Karly Proof, BEAUTIFUL IMPRESSION. Full margins. With Buhot’s 
red stamp. 


Height, 614; width, 33 inches. 


BUHOT, FELIX 
7. Les Fracres. THe Cas Sranp. Etching. 
Bourcard, No. 128. 


Karly Proof, on Japan paper, before the cutting down of the plate, 
with the remarques in the bottom margin. With Buhot’s red 
stamp. 

Height, 914; length, 125¢ inches. 

One of the choicest of this plate which varies so much in the impres- 
sions, and loses so much in the last impressions, 
[ Continued 


Sale Friday Evening, March 26th 


[| No. 7-—Continued | 
“Une Matinée d’Hiver au Quai de l’HOtel-Dieu, ou Les Fiacres. This 
is an example of what effects can be obtained from papers well chosen. 
The best proofs I have seen of this plate, which is so sought after, were 
printed on papers like Japans and Hollands, having a light grayish tone 
and giving the effect of sad and rainy weather.’”—HeENr1 BERALDI. 


BUHOT, FELIX 
8. Pour L’ItLusrration Novvetie. Etching and Drypoint. 

Bourcard, No. 124. 

Karly proof. FINE RICH IMPRESSION, with full margins. Signed in 
the plate——Fx. Buhot. 

Height, 1314; width, 1034 inches. 
The Burial of the Burin. “In this lively allegory, the artist intimating 

that line-engraving is dead, represents the dead body of the burin borne 


away in a hearse and its soul carried up to heaven, while modern etching 
comes thundering on in the form of an express train.”—FREDERICK KEPPEL. 


BUHOT, FELIX 
9. PuAcE Brépa. L’Hiver A Parts. Etching. 

Bourcard, No. 128. 

Very early proof on Japan paper, with five dogs in the foreground, 
afterwards changed to two dogs, and before the additional aqua- 
tint work on the sketches in the left margin. Attached to the foot 
of the print is an extra symphonic border, not infrequently done 
by Buhot, who of all etchers, was the greatest manipulator of 
his etchings. 

Height, 914; length, 1314 inches. There is about 34 inch added and 
overlaid at the bottom of the print, evidently added by the artist. 


A splendid example of one of Buhot’s etchings, among which there is 
a great disparity. 


BUHOT, FELIX 
10. La Pracz Pieatte. Etching. 
Boureard, No. 129. 


Fine early proof, with the inserts in the upper right hand corner of 
the plate, and with Buhot’s red stamp on the margin. Rare. 


Height, 9144; length, 1334 inches. 


BUHOT, FELIX 
11. DEBARQUEMENT EN ANGLETERRE. Etching. 

Boureard, No. 1380. 

Early Proof, fine impression signed in the plate,-—Débarquement en 
Eingleterre, Feliz Buhot, 189%, and with the Artist’s red stamp 
on the lower margin. 

Height, 1134; width, 7 inches. 


so | ‘or 


Sale Friday Evening, March 26th 


BUHOT, FELIX 
12. Une Jeté&e EN ANGLETERRE. THE JETTY. Etching. 

Boureard, No. 152. 

Very Early Proof. With the first marginal sketches at the left, 
which were afterwards changed to sea gulls. With Buhot’s red 
stamp on the margin. 

Height, 11; width, 834 inches. 

This plate is not to be confused with “Débarquement en Angleterre,” 


a night scene of the same jetty, and on close inspection seen to be entirely 
redrawn. 


BUHOT, FELIX 
13. La TRAVERSEE. CROSSING THE CHANNEL. Etching. 
Boureard, No. 1438. 
Fine impression on Van Gelder paper, with symphonic border. 
Heights 1214; width, 914 inches. 


BUHOT, FELIX 
14. L’?OracE. Hindley Heath, after Constable. Drypoint Etching. 
Bourcard, No. 145. 
Signed Artist’s Proof, with pencil note, at office, in the margin, 
with symphonic border on the left. Rarz. larly and fine 
impression. 


Height, 6; length, 9 inches. 


BUHOT, FELIX 
15. Country NeicHpors. Etching. 
Bourcard, No. 148. 
Karly Proof of exceptional quality, with the symphonic border 
sketched in. With Buhot’s red stamp. Rare. 
Height, 514; length, 614 inches. 

“T once asked Mr. Buhot who, in his opinion, was the greatest French 
etcher. His answer was ‘Bracquemond’.” 

“Later when I went to England, I repeated this to Sir Seymour Haden, 
who rejoined ‘And I say it is Felix Buhot himself. There is a little plate 
of his representing two old people trudging home in the rain, that in my 
opinion is painter-etching of the very best sort’.”—FREDERICK KEPPEL. 


BUHOT, FELIX 
16. Un Virux Cuantier A RocHEstrer. Etching. 

Bourcard, No. 147. 

Signed Artist’s Proof, on special straw colored Japanese paper, with 
marginal notes in Buhot’s autograph. With the artist’s red stamp. 
EXTREMELY RARE. 

Height, 484; length, 1114 inches. 


One of Buhot’s inimitable night scenes. 


aS, oa ee 


Sale Friday Evening, March 26th 


BUHOT, FELIX 
17. Les Petrres CHaumieres. Etching. 
Boureard, No. 149. 


Proof. Brilliant Impression, on old French paper. With Buhot’s 
red stamp in the margin. 
Height, 4; length, 53@ inches. 

“His little town of Valognes and his beloved Normandy inspired him 
with his touching subjects, some of which are veritable treasures for a 
collection, as, for example, the Grandes and Petites Chaumiéres, Les 
Oies, and above all, the Country Neighbors.”—LEoNCE BENEDITE. 


BUHOT, FELIX 
18. Les GraNpDES CHAUMIERES. Etching. 
Bourcard, No. 150. 


Early Proof, with Buhot’s red stamp on the margin. MAGNIFICENT 
IMPRESSION. : 


Height, 514; length, 1034 inches. 


BUHOT, FELIX 
19. Les Berceries. Sorter Covcuant. Etching. 
Bourcard, No. 151. 


Signed Artist’s Proof, printed on ‘papier essencé.’ Signed in pencil 
in lower margin,—Feliz Buhot. With the artist’s red stamp. 


Height, 534; length, 1034 inches. 


BUHOT, FELIX 
20. CHAPELLE St. Micuen A L’Estre. Etching. 
Bourcard, No. 152. 


Signed Artist’s Proof, vaRY RICIZ IMPRESSION with pencil note in 
his autograph. Artist’s red stamp on the margin. 


Height, 514; length, 10%4 inches. 


BUHOT, FELIX 
21. La Perrre Marine. Sovuventr DE Mepway. Etching and Drypoint. 
Boureard, No. 153. 
Early Proof. Signed in the plate—Rochester 1879 F.B. BRILLIANT 
IMPRESSION. With large margins. 
Height, 614; length, 814 inches. 


Sale Friday Evening, March 26th. 


; 


BUHOT, FELIX 
22. WESTMINSTER Patace. Etching. 


Boureard, No. 155. 

First state proof, early variation, before the plate was cut down, and 
reduced at the bottom thus eliminating the feet of the man; and 
before the title “Westminster Palace” and the address appeared 
in the symphonic border, and afterwards removed leaving traces 
of removal. With Buhot’s red stamp, printed and approved by 
the artist, and with interesting pencil notes in Buhot’s writing 
in four places, top and bottom of margin. 

Height, 11144; length, 1554 inches. 

“A well known specialty of Buhot’s is his symphonic margins, an out- 
growth of the ‘remarque,’ which is only a simple note of some sort, an 
insignificant little sketch which the etcher scribbles in the margin of 
his work, whether almost involuntarily to try his etching needle, or else 
on purpose to distinguish the various states from one another. Buhot has 
made a veritable frame of his principal subject; for him it was a way 
to escape from the main subject, thus to make notes in passing-light 
sketches like a dream, all the reveries, all the fancies, all the recollections 
which cropped up in his mind in the course of his quiet meditations during 
the long hours of work. Sometimes these marginal sketches became 
small pictures, comical or doleful, which add a personal interest to the 
moral atmosphere of the main etching; sea-gulls crossing the sea; fallen 
cabs; feet struggling in the mud. Here on the edge of his ‘Westminster 
Bridge’ a distant and striking view of St. Paul’s in the fog; also, steamers, 
lighters, tunnels, trains dashing through the night, and a whole crowd 
that overflows the margin of the picture; there, around ‘Westminster 
Palace’ escutcheons, maces and mace-bearers, magistrates’ wigs, courtiers 
leading grand ladies, followed by a page, in the midst of Tritons, and 
Naiads of the stream, distant castles, carriages out of fairy stories, and 


up at the top, in obscurity, a Queen in mourning kneeling under the 
sinister eyes of an owl. 


BUHOT, FELIX 
23. WESTMINSTER BripcE. Ciock Tower. Etching. 


Boureard, No. 156. 


Signed Proof. Beautiful and rich impression. With Buhot’s red 
stamp on the margin, and penciled autograph inscriptions,— 
“Hpreuve du Ge état avec toutes les barbes. Felix Buhot;’ and in 
the lower left corner,—‘‘I/ existe sept épreuves de cet état.” 

Height, 1114; length, 1534 inches. 

From the Robert Hoe Sale, Feb. 1911. 

“In the ‘Westminster Clock Tower,’ we see the foggy sky, smoky and 
sutty, in that strange London atmosphere of mystery and enchantment. 
Between the sombre buildings of St. Thomas Hospital on the one side and 
some scaffolding on the other, we see the distant Clock Tower, and 
leading to it the crowded roadway, full of coaches and cabs, busy pedes- 


[Continued 


eS 
Pees eee oe 


% 


Pa ad 


a> ; 
ea oo a ee 


pecopianer ve 


FELIX BUHOT 


tminster Bridge. 


Clock Tower 


We 


[No. 23] 


Sale Friday Evening, March 26th 


| No. 23—Continued | 


trians and elegant ladies, all jumbled and crowded on the wet pavement.” | 


—LEONCE BENEDITE. . 

“As one lingers in appreciation over the work of the ‘mad etcher’ en- 
dowed with the divine spark of genius, it is as though the sensibilities had 
been touched in a manner other than through the sense of sight alone. 
One almost feels the damp and chill of the weather; one smells the scent 
of the atmosphere and one hears the sounds of the busy streets. Though 
perhaps, Westminster Palace and Westminster Bridge are the artist’s 
greatest compositions, the Cab Stand in its best impressions, leaves an 
impression and stirs the imagination and recollections as no other product 
of the etcher’s needle can do.” 


[See Illustration | 


BUHOT, FELIX 
24. SOUVENIR DE TAMISE, ENVIRONS DE GRAVESANDE. LHtching. 


Bourcard, No. 157. 

Artist’s Signed Proof on Japan paper, and signed by Buhot,—*3’e 
Etat avant Veffacage du personage. Felix Buhot. Third State 
before the elimination of the person. VERY RARE. 


Height, 1014; length, 135 inches. 


BUHOT, FELIX 
25. Le Hrsov. THe Own. Etching. 


Bourcard, No. 161. 
Proof touched in sepia. 
Height, 173g; width, 1234 inches. 

A fine proof of one of the artist’s large fantastic pieces. 

“The technic of Buhot is assuredly far from being simple. But he is 
free. He is not the slave of rules and formulas; he has not the least 
respect for arbitrary laws; he blends and mixes all the different means 
used for obtaining effects in black and white, whether by cutting into or 
corroding the plate. He is not the slave of any one implement, for Buhot 
would not understand the traditional distinction made between a line 
engraver or a worker in dry-point, nor of all those good people who 
separate and group themselves according to the end at which they break 
the egg they are going to eat!” 


BUHOT, FELIX 
26. La PLack pes Martyrs ET LA TAVERNE DU BaGne. Etching. 


Bourcard, No. 1638. 

Proof on thin Japan paper. Signed in the plate,—Fehx Buhot 
1885, and etched verse on lower border of plate. Third State. 
VERY SCARCE. 

Height, 1314; length, 1714 inches. 

[Continued 


oe 


[93 ‘ON] 
auseg Np sUAIDART, BI JO SIAPIVIT SOP ddVIq BT 


DLOHNA XTTHA 


ih dhe wee KES ® 


COMERELAGRVEREE NT TED 
Oe 
PEAR PMDER DEE LENS 


Sale Friday Evening, March 26th 


| No. 26—Continued | 


“This etching recalls one of the curiosities of Paris in 1885. It is eve- 
ning; the strange festival has attracted a large crowd of people on the 
square. In the rear is lighted the out-house in which citizen Lisbonne 
had installed this curious tavern. By the door to the right the gendarmes 
are calmly arranging the people in lines to prevent disorder in entrance. 
At the door to the left one sees the departure of the customers who had 
gone in to drink (and to pay) and whom the ingenious impressario called 
the ‘liberated ones.’ 

“This print unfortunately cannot show us the interior of the tavern 
with its wall decorated with pictures of convicts (most of whom had at 
that time become ‘Deputies’) ; it cannot show us the crowds being served 
by the galley-lads in red coats and green caps with chains on their feet 
and a ball and chain around their wrist; nor the imitation convict 
guards with sabres under their arms. It cannot reproduce the sound of 
the prison gongs and whistles, nor give us an idea of the cavernous 
voice with which these pseudo-convicts repeated your order for a glass of 
bock as ‘A cannonball! One!’ ”’—Hernri BERALDI. 


[See Illustration ] 


BUHOT, FELIX 
27. Bare pE Saint Mato—ULa Fauatsse. Etching. 
Bourcard, No. 165. 


Brilliant proof, without the symphonic borders, and with the artist’s 
red stamp in lower margin. 


Height, 9; length, 1184 inches. 
“Though without the border, the etching is heightened thereby.” 


BUHOT, FELIX 
28. Bare DE SAarint-Maxo, La Fauaise. Etching. 
Bourcard, No. 165. 


Brilliant proof on Japan paper, with the wide symphonic borders 
printed in greenish ink, and with the artist’s red stamp on the 
margin. 

Height, 1154; length, 1534 inches. 

An exceptionally fine print. 


BUHOT, FELIX 
29. CHATEAU DES Hipoux, or sometimes called Ex Lispris pzE Leon Lavy. 
Ktching. 
Bourcard, No. 168. 
Early Proof, printed in black and sepia. FINE IMPRESSION. 
Height, 414; length, 714 inches. 


“One of the smaller, but intricate and fascinating works of Buhot, full 
of allegory and interest.” 


AMERON 
Rose Window 


ss) 


C 


DAVID YOUNG 


St. Mark’s. 


Sale Friday Evening, March 26th 


DAVID YOUNG CAMERON 


Contemporary Painter-Etcher of high merit. Born at Glasgow in 1865. 
He is a Fellow of the Royal Society of Painter-Etchers, and probably the 
youngest member of that distinguished body. Sir Francis Seymour Haden, 
its president, writes of Mr. Cameron with an enthusiasm which is un- 
usual with him—hailing him as a hopeful successor to the masters of the 
previous generation, and cordially recognizing in his work that precious 
gift of personality without which all mere technical skill is vain. In 
examining Mr. Cameron’s etchings, it is not easy to designate his forte. 
Meryon etched picturesque buildings magnificently, but his portraits are 
simply bad. Whistler has triumphed in a wider field, but he seems to 
care nothing for the restful charm of rural landscape, where Seymour 
Haden is supreme. Mr. Cameron already shows himself equally at home 
when delineating pure landscape, views of buildings and shipping, inte- 
riors or portraits.”—FREDERICK KEPPEL. 


CAMERON, DAVID YOUNG 
30. PertH Bripcre. Etching. 
Rinder, No. 28. 
Early proof. Signed in the plate,—Perth Bridge. D. Y. Cameron. 
Height, 67; length, 10% inches. 


CAMERON, DAVID YOUNG 
31. Arran. Etching. 
Rinder, No. 43. 


A seascape with sail scudding before the wind. Early proof, FINE 
IMPRESSION. Signed in the plate—Arran, D. Y. Cameron. 


Height, 47; length, 9% inches. 


CAMERON, DAVID YOUNG 
32. Sr. Marx’s NumBer Two. THE Rost Winpow. Etching. 
Rinder, No. 30%. 


Signed Artist’s Trial Proof on Japan Paper, before the shadows were 
deepened and extended. With the marginal inscription note,— 
Trial Proof, San Marco, Venice, and signed on lower margin,— 
D. Y. Cameron. Loosely hinged at top. 

Height, 12; width, 78g inches. 

From, the Dutcher collection. 

Sharing perhaps, with this same artist’s “Seven Sisters,” the “Rose 
Window” deservedly ranks among the greatest masterpieces of the world’s 
most famous etchers. Frederick Keppel said of Cameron,—‘the son of 
a Scottish clergyman, he is the most scrupulously honest of artists. He 
prints his own proofs, and if he announces an edition of thirty he prints 
only that number, then destroys the copper plate and then revises each 


proof and ruthlessly tears up every one which does not entirely satisfy 
him.” 


[See Illustration | 


Sale Friday Evening, March 26th 


NICOLAS TOUSSAINT CHARLET 
French Etcher. Born, 1792; died, 1845. 


CHARLET, NICOLAS TOUSSAINT 
33. ORIGINAL SKETCHES. Etching. 


A plate with various sketches, indiscriminately scattered, of inter- 
esting characters, making a balanced and harmonious whole. Cut 
to plate-mark. 


Height, 834; length, 1114 inches. 
From the Peoli and Robert Hoe collections. 


JEAN-BAPTISTE CAMILLE COROT 


Born at Paris, 1796; died at Paris. French etcher, officer of the Legion 
of Honor. 


COROT, JEAN-BAPTISTE CAMILLE 
34. Paysace D’ITatiz. Etching. 
Delteil, No. 7%. 
Proof before all letters, fine impression on Japan paper. 
Height, 614; length, 93 inches. 

From the Robert Hoe collection. 

This subject was drawn upon the plate by Corot in 1865-66 and was 
“bitten” in by Felix Bracquemond. , 

The few etchings (fourteen) of the great painter, one of which was 
over “bitten” and another spoiled before “biting,” belong to the later and 
best period of his art, and it was generally at the request of a friend or 
to render some service that he took up the plate and needle. 

“In this master’s work, as in Millet’s, we have the rapid, decisive 
expression of the central ideas of the picture. It becomes an illustration 


of Rousseau’s maxim, that unless a picture is made on the first five 
lines, it will never be made.”—W. J. STILLMAN. 


ALBRECHT DURER 


Born, Niirnberg in 1471; died there 1528. “Albrecht Diirer fills a large 
space in the history of art. So far as Germany is concerned, he is facile 
princeps, unrivalled even in his own age by so great an artist as the 
younger Hans Holbein, and towering above all his successors, no one of 
whom can raise a head high enough to look him in the face... . Although 
it would seem that it was Diirer’s ambition to excel as a painter, it is as 
an engraver that he has won his fame, and taken so sympathetic a grasp 
of the human heart.”—LIoNEL CUST. 


DURER, ALBRECHT 
35. CHRIST IN THE GARDEN OF OLives. Etching. 
Bartsch, No. 9. 


[Continued 


Sale Friday Evening, March 26th 


[No. 35—Continued | 
Very Fine Impression with tone, before the rust marks. Paper 
with water-mark of the “Two Towers.” Very narrow margin all 
around. 


Height, 834; width, 6% inches. 
From the A. Firmin-Didot, the Peoli, and Robert Hoe collections. 


DURER, ALBRECHT 
36. THE VIRGIN Sirring BY A WaLL, 1514. Engraving. 
Bartsch; No. 40, 
Clear impression. Cut just outside plate-line. 
Height, 584; width, 3% inches. 
From the Townsend collection. 


DURER, ALBRECHT 
37. SAINT CHRISTOPHER. Hngraving. 
Bartsch, No. 51. 


Good Impression, in good condition. Cut close to etching at left, 
very narrow margin top right and bottom. 


Height, 454; width, 27% inches. 


From the Robert Hoe collection. 


DURER, ALBRECHT 
38. THE Rape or AMYMONE. Engraving. 
Bartsch, No. 71. 


Beautiful and clearly printed impression, in fine condition. RARE 
QuALity. Very narrow margins all around. 


Height, 913/16; width, 736 inches. 


From the Robert Hoe collection. 


DURER, ALBRECHT 
39. THE Great Horse.. Engraving. 
Bartsch, No. 97. 


A clearly printed impression, of rare quality and brillianey, cut to 
plate-mark. 


(0 ‘ Height, 644; width, 45% inches. 


From the A. Firmin-Didot, the Peoli, and Robert Hoe collections. 


[See Illustration | 


ALBRECHT DURER 
The Great Horse 
[No. 39] 


Sale Friday Evening, March 26th 


LEOPOLD JOSEPH FLAMENG 


Born at Brussels of French parents, 1831. Pupil of Calmatta and 
Gigoux; Chevalier of the Legion of Honor. 


FLAMENG, LEOPOLD JOSEPH 
40. Gro“rer IN THE Houses or Aupus. Etching. 


Signed Artist’s Proof, after the painting by Frangois Flameng, 
owned by the Grolier Club of New York. Remarque Proof, signed 
by both Painter and Etcher. The remarque is a facsimile of the 
seal of the Grolier Club. 


Height, 1414; length, 1534 inches. 
From the Robert Hoe collection. 


FLAMENG, LEOPOLD JOSEPH 


41, Hassan Ev Namuora. Etching by Flameng after the painting by 
Regnault. 


Artist’s. Proof, before all letters, on India paper. 
Height, 914; length, 1114 inches. 
From the Robert Hoe collection. 


FLAMENG, LEOPOLD JOSEPH 
42. ViLLON AU CABARET DU PoMME DE Pin. Etching. 
Proof on India paper. FINE IMPRESSION. 
Height, 8; length, 1014 inches. 


From the Robert Hoe collection. 


FLAMENG, LEOPOLD JOSEPH 


43. Ten Proof Etchings, all fine impressions; one by Lalauze, and a Por- 
trait of Moliére. Together, 12 pieces. 


SIR FRANCIS SEYMOUR HADEN 


Born in London, 1818; died, 1910. Founder and President of the Royal 
Society of Painter-Etchers. “An artist of rare endowment and consum- 
mate skill. He is a master of foliage, he has drawn trees magnificently, 
both as to wood and leaves; there is no better stem of branch drawing 
than his in all contemporary art.’”—P. G. HAMERTON. 


HADEN, SIR FRANCES SEYMOUR 
44, Myrron Hatz. Etching. 
Harrington, No. 14. | 
TrraL Proor “A.” Signed in lower margin in pencil,—Seymour 
Haden and with presentation inscription,—Mytton Hall, Lanca- 
[Continued 


[1 ON] 
Sa, 94} UO 
NHGVH WOAOWAAS SIONVAA AI 


Hrensige 


a 


Sale Friday Evening, March 26th 


1 No. 44—Continued | 

shire. Seymour Haden & Mons. Fantin, before the name and date 

on the plate. Superb impression on Dutch paper. 
Height, 46/8; length, 1034 inches. 

From the Dutcher collection. 

Mytton Hall is an old Henry the Seventh house which Haden was in 
the habit of staying at for the purpose of salmon fishing in the river 
Ribble (the Lancashire River) which runs past it. 

Far more important than that Mytton Hall is perhaps one of the rarest 
of all Seymour Haden’s etchings, is the fact that by some it is considered 
one of the finest, most satisfactory, and all-gratifying etchings that the 
old man ever did. 


HADEN, SIR FRANCES SEYMOUR 
45. EaHam. Etching. 
Harrington, No. 16. 
THirD StaTE. Signed in lower margin in pencil,—Seymour Haden. 
Ricw Impression. There are eight birds in the sky. 
Height, 5; length, 77% inches. 
From the Greaves collection. 


HADEN, SIR FRANCES SEYMOUR 
46. FutHam. Etching. 
Harrington, No. 19. 
Trial Proof “B.” Very beautiful impression on thick Dutch paper. 
Etched in the plate,—Fulham on the Thames, near the middle of 


the lower part. Four poplars have been added in outline. About 
1/16 margin all around. 


Height, 47%; length, 11 inches. 


From the Dutcher collection. 


HADEN, SIR FRANCES SEYMOUR 
47. On THE TxEst. Etching. 
Harrington, No. 20. 
First STATE, on Japan paper. Signed in the plate,—Seymour 


Haden, and in lower margin in pencil,—Seymour Haden. Rich 
impression, with burr. 


Height, 57g; length, 8% inches. 
From the Robert Hoe collection. 


[See Illustration | 


[6F ‘ON] 
puod THN 210G§ 
NGHGVH YOOWAAS SIONVUA UIS 


Sale Friday Evening, March 26th 


HADEN, SIR FRANCES SEYMOUR 
48. KipwreLtty Town. Etching. 
Harrington, No. 24. 
First Stars, on Vergé paper. Signed in the plate—F’. S. Haden 
1859. The plate is cleaned. No birds in the sky. CLEAR AND 
BEAUTIFUL IMPRESSION. Loosely hinged at top. ; 
Height, 6; length, 9 inches. 


From the Robert Hoe collection. 


HADEN, SIR FRANCES SEYMOUR 
49. Suere Mitt Ponp. Etching. Larger plate. 

Harrington, No. 38. 

First Starr. Signed in the plate-—Seymour Haden 1860, and in 
lower margin in pencil,—Seymour Haden. FINE IMPRESSION, 
on Japanese paper. 

Height, 7; length, 131 inches. 

From the Greaves collection. 
“With the single exception of one plate by Claude, this is the finest 


etching of a landscape subject that has ever been executed in the world.”— 
P. G. Hamerton, in “Etchings and Engravings.” 


[See Illustration | 


HADEN, SIR FRANCES SEYMOUR 
50. BarrerseA ReacH. Etching. 

Harrington, No. 52. 

First State. Signed in upper right,—Old Chelsea Seymour Haden 
1863. Out of Whistler's window. Before the sky and water were 
cleaned. BEAUTIFUL IMPRESSION. 

Height, 6; length, 8% inches. 
From the Robert Hoe collection. 


HADEN, SIR FRANCIS SEYMOUR 
51. Tuomas Hapen or Dersy. Etching. 


Harrington, No. 58. 

First Stars, on Verger paper. Signed in the plate—Seymour 
Haden 1878, and in lower margin in pencil,—Seymour Haden. 
FINE Impression. 

Height, 137; width, 914 inches. 

From the Dillworth collection. 

“Thomas Haden of Derby, my grandfather, was under a_ polished 
exterior, one of the most determined men I have ever known, and one of 
the bravest. He would have made a hero of romance if he had had the 
chance. At the age of eighty-five he defended his home against the whole 
mob of Derby, keeping them at bay all night.”—SEyYMOUR HADEN. 


eer 2 


Sale Friday Evening, March 26th 


HADEN, SIR FRANCES SEYMOUR 
52. Tue FisuermMan. LHtching. 
Harrington, No. 69.: 

TriaAL Proor “A,” before the lower part of the man, and the fore- 
ground to the right were etched in. Signed in lower margin in 
pencil—_ Seymour Haden. Fine Impression. 

Height, 514; length, 83¢ inches. 


From the Dillworth collection. 


HADEN, SIR FRANCES SEYMOUR 
53. Penton Hoox. LEtching. 

Harrington, No. 70. 

TRIAL Proor “B.” Signed in lower margin in pencil,—Seymour 
Haden. Fine Impression. The tree is more worked upon, and 
with its reflection, is in greater contrast with the light back- 
ground than in Trial Proof “A.” In proof “C,” the tree trunk has 
been entirely removed. In “D,” the tree trunk is entirely re- 
etched, and the First State has various dry-point additions. 


Height, 6; length 914 inches. 


From the Dillworth collection. 


HADEN, SIR FRANCIS SEYMOUR 
54. Tur Lovers’ Watx. Etching. 
Harrington, No. 72. 
TriaL Proor “A.” With much burr on the trees to the left. Signed 
in plate,—Seymour Haden 1864, and in lower margin in pencil,— 
Seymour Haden. FINE IMPRESSION. 
Height, 6; length, 94% inches. 


From the Dillworth collection. 


HADEN, SIR FRANCES SEYMOUR 
55. Grirr. A Porrrart or Mr. Cuarztes Coxze. Etching. 
Harrington, No. 89. 
Trial Proof “A” without the drypoint work, with etched inscrip- 
tion,—Kew June 5, 1864, and signed in lower margin in pencil,— 
Seymour Haden. 
Height, 914; width, 6 inches. 
From the Dillworth collection. 


Sale Friday Evening, March 26th 


HADEN, SIR FRANCES SEYMOUR 
56. Horstey’s Roor. Etching. 

Harrington, No. 100. 

Published State. Trial Proof “A,” before the plate was re-bitten, 
and before the shading on the wall under the windows at the right 
and the bird on the ridge of the roof to the right. Signed in lower 
margin,—Seymour Haden. 


Height, 514; length, 8%@ inches. 
From the Townsend collection. 


HADEN, SIR FRANCES SEYMOUR 
57%. OLtp WituEstEY Hovss. Etching. 
Harrington, No. 102. 
Frrst State. Signed in plate-—S. Haden 1865, and in lower mar- 
gin,—Seymour Haden. The foul biting in the sky almost removed. 
Height, 6%; length, 10 inches. 


From the Townsend collection. 


HADEN, SIR FRANCIS SEYMOUR 
58. THE TurkisH BATH, WITH ONE FIGURE. Etching. 
Harrington, No. 134. 
TrraL Proor “D,” rich in burr, so that the background on both 
sides of the figure is almost equally black. Signed in plate,— 
S. Haden and in lower margin,—Seymour Haden. 
Height, 624; width, 3% inches. 


From the Dillworth collection. 


HADEN, SIR FRANCES SEYMOUR 
59. Battersea Briper. The reduced plate. Etching. 
Harrington, No. 135. 
Proor. Signed in pencil,—Seymour Haden. 
Height, 314; length, 74 inches. 
From the Greaves collection. 


HADEN, SIR FRANCES SEYMOUR 
60. THE BrEaAkING Up oF THE AGAMEMNON. Etching. 

Harrington, No. 145. 

TrraL Proor “C.” Signed in the plate-—Seymour Haden 1870 
and in the lower margin,—Seymour Haden. An extra bulk of 
timber has been added in the right foreground, 1.e., the stone but- 

[Continued 


Sale Friday Evening, March 26th 


| No. 60—Continued | 

tress has another row of timber on the inner side. It is removed 

in proof “D,” and thereafter. 
Height, 75¢; length, 1614 inches. 

From the Harrington collection. 

Perhaps, all things considered, this is the artist’s masterpiece. Col- 
lectors differ as to the relative merits of the various etchings by Seymour 
Haden, but all are agreed in ranking this as his masterpiece. 

“This fine plate was etched on the Thames, at Greenwich, in 1870. 
Sir Seymour devoted the money obtained from the sale of the proofs to 
the aid of the London Hospital for Incurables.”—FrEpERICK KEPPEL. 


HADEN, SIR FRANCES SEYMOUR 
61. ScotcH Firs. INvERoraN. Etching. 

Harrington, No. 150. 

Tran Proor “A,” before the mountain-top, seen in the distance. 
On Holland paper. Signed in the plate——Seymour Haden 1873. 
FINE IMPRESSION. 

Height, 10; length, 15 inches. 
From the Dillworth collection. 
This plate was executed in strong outline to serve as a basis for mezzo- 


tint, somewhat in the manner of the Liber Studiorum plates. In the 
published state the mountain is removed. 


HADEN, SIR FRANCES SEYMOUR 
62. A BackwATER. Etching. 
Harrington, No. 178. 
TrraL Proor “C.” Signed in plate-—Seymour Haden 189%. Be- 


fore the addition of the three ducks in the foreground, which 
appear in the first state and after. RicH LwpressIon. 


Height, 514; length, 8 inches. 
From the Dillworth collection. 


HADEN, SIR FRANCIS SEYMOUR 
63. THE WitLows. Etching. 
Harrington, No. 181. 


TriaL Proor “A,” before the two small tree trunks in the upper 
left corner reach the upper plate-mark, and with much burr. Two 
lambs lying down are added to the foreground in the first state, 
after “B” and “C.” Signed in the plate,—Seymour Haden 1877, 
and in lower margin in pencil,—Seymour Haden. RicH 
IMPRESSION. 

Height, 57%; length, 8% inches. 


From the Dillworth collection. 


Sale Friday Evening, March 26th 


HADEN, SIR FRANCES SEYMOUR 
64. Tue Amsren. Photo-Engraving, washed with sepia. 
Harrington, No. 201. 
Signed in pencil,—Seymour Haden, with the inscription,—Royal 
Institution Mar 29th 1879 within plate-line. 
Height, 414; length, 6 inches. 
From the Greaves collection. 


HADEN, SIR FRANCES SEYMOUR 
65. GreENwicH. Etching. 
Harrington, No. 207. 


Siened Artist’s Proof. Trial Proof “C,” signed in plate——Seymour 
Haden 1879 and inscription, in pencil—Harly trial proof with 
white boat. Seymour Haden. 

Height, 133g; length, 2014 inches. 


HADEN, SIR FRANCES SEYMOUR 
66. Hartecu. A second plate. HEtching. 

Harrington, No. 212. 

First Starr. Signed in plate——Drawn Etched Engraved and tinted 
by Francis Seymour ITaden May 11th 1880 and title Harleck and 
signed in lower margin in pencil,—Seymour Haden. A fine and 
early impression of this beautiful plate in which the artist com- 
bined etching and mezzotint. The dry-point line in the “H” of 
Harleck is quite visible. 

Height, 87; length, 12% inches. 

From the Robert Hoe collection. 


[See Illustration | 


HADEN, SIR FRANCES SEYMOUR 
67. A LancasHireE River. Etching. 
Harrington, No. 210. 


Reverse Trial Proof “A,” much touched and worked upon in pencil 
by the artist, with his initials in pencil,—S. H. inside plate line 
at bottom. Much of the clouds in the sky and the shadings and 
reflections in the water, some hills in the perspective, the second 
cow from the right near the shore, and the middle cow of the three 
in the foreground, are all added in pencil. Traces of a fourth cow 
in the foreground are visible, besides a great deal of other work 
by the artist’s pencil on the print. Fine silvery impression. 
Loosely hinged at top. 


Height, 11; width, 16 inches. 


“A well-known salmon pool in the Ribble. In Sir Seymour’s opinion 
this is one of his very finest plates. It was awarded the Medal of 
Honor at the Paris Exposition of 1889.’—KEPPEL. 


[99 ON] 
ool ley 
NHGVH WOOWAAS SIONVUA UIS 


Sale Friday Evening, March 26th 


HADEN, SIR FRANCIS SEYMOUR 
68. THE VituAGF Forp. Etching. 

Harrington, No. 216. 

First Strats, before the additions of the man with a ladder by a 
haystack beyond the fence that bounds the road, and the clouds 
in the sky. Signed in plate——Seymour Haden 1881—and in the 
lower margin in pencil,—Seymour Haden. FINE IMPRESSION. 

Height, 7; length, 1014 inches. 

From the Dillworth collection. 


HADEN, SIR FRANCES SEYMOUR 
69. Tur Breakinc Up or THE AGAMEMNON. Mezzotint. Second plate. 

Harrington, No. 229. 

Signed in pencil in plate-—Seymour Haden 1886 and in lower 
margin in pencil,—Seymour Haden. An altogether different treat- 
ment and drawing of the subject. 

Height, 1014; length, 19 inches. 

From the Greaves collection. 


WENZEL HOLLAR 


Celebrated Bohemian engraver and designer. Born at Prague, in 1607; 
died in London, in 1677. 


HOLLAR, WENZEL 
"0. Tue CatHEeDRAL AT ANTWERP. Steel Line-Engraving. 
Wenceslaus Hollar delineauit et fecit 1649. Prospectus Turris He- 
clesiae Cathedralis, Beatissimi Virginis Mariae Dei-Parae, Antur- 
piae, Occidentem Versus. Parthey, p. 169. No. 824. 
Very fine impression, unfolded and unfoxed. Very narrow margins 
all around. 
Height, 1854; width, 131 inches. 
From the Henry Ward Beecher and Robert Hoe collections. 


RICHARD JOSEY 


English Mezzotint Engraver. Born, 1840. 
JOSEY, RICHARD 


71. Porrrair or THomMAs CartyLe. Mezzotint. 
After a painting by Whistler. Proor, signed on lower margin in 
pencil,— Whistler his butterfly and Richard Josey. This print also 
bears the Printsellers’ Association stamp. | 
Height, 137; width, 115g inches. 


From the Brayton Ives collection. 


CHARLES MERYON 
Le Petit Pont 
[No. 72] 


Sale Friday Evening, March 26th 


CHARLES MERYON 


Celebrated French etcher. Born in Paris, 1821; died there in 1868. “But 
we must turn now to a great poet-etcher, one of the greatest masters that 
the copper-plate has ever known and one of the most tragic and piteous 
figures in the history of art. When Charles Meryon, after his sea-wan- 
derings and his failure as a painter, found his true vocation with needle 
and mordaunt, his strange, weird genius, haunted by the mysterious 
beauty that the centuries had stamped upon Paris, expressed itself 
through the artistic records of her old buildings that was soundly, while 
imaginatively picturesque, yet personally reflective to an extraordinary 
degree.” —MALCOLM SALAMAN. 


MERYON, CHARLES 
?2. Lu Perit Pont. Etching. 
Wedmore, No. 8. 


Second State of five states. Fine impression in warm toned ink, with 
inscription,—C. M., in upper right hand corner. 
Height, 1014; width, 734 inches. 


From the Philippe Burty and Townsend collections. 


[See Illustration | 


MERYON, CHARLES 
73. L’ArcHE pu Pont Notre Dame. HEtching. 
Wedmore, No. 9. 
First Strate. With the name and address of Meryon in the left 


corner, and “Paris 1853,” in the right. Beautiful and clearly 
printed impression on thin Chinese paper. 


Height, 6; length, 75g inches. 
From the Robert Hoe collection. 


MERYON, CHARLES 
74. Le Pont au Cuancs. Etching. 
Wedmore, No. 18. 


Very Beautiful Proof. First Strate. With only one balloon in 
the sky, before the hearse on the bridge was altered to a covered 
carriage, and with the name and date of Meryon. Very Rare in 
this state and fine quality. 

Height, 644; width, 131% inches. 

From the Dutcher collection. 


[See Illustration ] 


[FL ON] 
esuBbyy ne yuog oJ 


NOAUGW SATYVHD., 


Sale Friday Evening, March 26th 


MERYON, CHARLES 
75. Bain Frorip CHEvrier. Htching. 
Wedmore, No. 27. 
Srconp Srare. With the title and verses beneath, which were 
printed in red from another plate. 
Height, 5; length, 534 inches. 
From the Robert Hoe collection. 


MERYON, CHARLES 
76. VuE DE L’AncIEN Lovuvre pu COTE DE LA SEINE. Htching. 


Wedmore, No. 60. 

Trial Proof on Waltman paper. Without letters and title, before 
the published state. 

Height, 614; length, 1014 inches. 
From the Philippe Burty and Robert Hoe collections. 


MERYON, CHARLES 
7. Le Granp CuHAreiet A Paris. Etching. 


Wedmore, No. 85. 
Trial Proof on Waltman paper. Without letters and title, before 
the published state. RARE AND FINE. 


Height, 9; length, 115g inches. 
From the Robert Hoe collection. 


JEAN FRANCOIS MILLET 


French painter and etcher. Born, 1815; died, 1875. 

“Millet was an ‘expressionist,’ if I may use the term, differing from 
those who attempt to seize the appearances of passing and accidental 
phenomena and qualify them as ‘impressionist.’ The shallowness of the 
doctrine—significant of an age devoted to surfaces—which would deny to 
a painter or etcher the right to ‘think’ and that considers as ‘literary’ 
anything beyond the prosaic lining of the passing and actual, is proved 
by the ever-growing appreciation of Millet’s pictures.”—Rost. J. WIcK- 
ENDEN. 


MILLET, JEAN FRANCOIS 
78. THE GiEaNERS. Etching. 
Lebrun, No. 13. 


Srconp Strate, on Holland paper, with the address,—Deldtre. Very 
fine early impression, not too heavily inked in the shadows. 


Height, 744; length, 984 inches. 

From the Robert Hoe collection. 

“Once again, in contact with the soil, Millet brought forth The Sower, 
The Harvester’s Repast, The Angelus, The Gleaners . . . and other works 
with which we have become familiar. There was but little of the anecdotic 
or ethnographic in Millet’s point of view, though his art is not entirely 
without touches of humor. He saw, however, the deeper meanings of the 
peasant’s life, and knew how to make the trivial serve for the expression 


of the sublime.’”—Ropsgt,. J. WICKENDEN. 


or! 


Sale Friday Evening, March 26th 


MILLET, JEAN-FRANCOIS 
9. Tue Woot Carper. 1863. Etching. 
Lebrun, No. 16. 
Onty Starz. Very fine impression in warm-toned ink. 
Height, 10; width, 634 inches. 
From the Townsend collection. 


MILLET, JEAN FRANCOIS 
80. A Moruer Frerepinc Her Cuitp. Etching. 
Lebrun, No. 18. 
Portrait drawn by Millet of his daughter, Mme. Heymann, with her 
baby in her arms. Turrp Stare. Fine impression. Signed in 
plate,—J. F. Millet 1861. 
Height, 6; width, 5 inches. 


PAUL RAJON 
French etcher. Born at Dijon, 1843; died at Paris, 1888. Bracquemond 
instructed him in the etcher’s craft. He was a brilliant reproductive and 
portrait-etcher. 


RAJON, PAUL 
81. Ar rue Batu; SPONGES AND SrricLes. Etching, after Alma. Tadema. 


Artist’s Signed Proof. Very fine and early impression, on vellum. 
With five remarque portraits of Alma Tadema, wife and children. 
Signed by Alma Tadema and P. Rajon in lower margin. 


Height, 1514; width, 9 inches. 
From the Robert Hoe collection. 


RAJON, PAUL 
82. Suzanna Rosz. Etching. 

Beraldi, No. 148. 

Trrat Proor. VERY BEAUTIFUL IMPRESSION, on thin Waltman 
paper. Before the cleaning of the plate, and the removal of the 
trial needle marks on the bottom margin. 

Height, 8; width, 614 inches. 


From the Dutcher collection. 

EXTREMELY Rare. No copy is to be found in the print collections of 
either the Avery Library or the New York Public Library. Even Mr. 
Halsey did not possess a copy. 

One of the masterpieces of etching of the nineteenth century. Beraldi 
[Continued 


Sale Friday Evening, March 26th 


[ No. 82—Continued | 


writes of it,—‘“One of the marvels of the century. It is the type of the 
aged woman of our century, as the Mdme. Letine of Aug. Saint-Aubin is 
the type of the aged woman of the eighteenth century.” 

The portrait is that of Suzanna Rose, the wife of James Anderson Rose, 
after a painting by Sandys. Mr. Rose was a collector of wide reputation 
whose collection of engraved portraits was exhibited at the opening of 
the New Library and Museum of the Corporation of London, Noy. 1872, 
the frontispiece of which catalogue was a smaller production of this 
portrait. The connoisseur of art, taste, and mechanical technique forgets 
his vocation in admiration of the almost idealized spirituality, the 
matronly, dignified impressiveness of this face in its rich and full 
maturity. The artist has portrayed for posterity an example of that rare 
type that has preserved its dominion and ascendency of loveliness to a 
ripe old age. 


[See Frontispiece for Illustration] 


REMBRANDT VAN RIJN 


Born at Leyden, 1607; died at Amsterdam, 1669. Pupil of Swanenburch 
and Pieter Lastman. “The opinion among etchers which enthrones Rem- 
brandt as the King of his craft is the most recent instance of perfect 
unanimity among people of all nationalities. As we all say Phidias was 
the greatest sculptor, Homer the greatest epic poet, and Shakespeare the 
greatest dramatist, so we are all agreed on the world-wide supremacy of 
Rembrandt. In his own lines of work, there is none in all history, to be 
compared with Rembrandt; in artistic influence, he has one equal entirely 
unlike himself, and that is Raphael. They are the two most influential 
graphic artists of all times.”—P. G. HAMERTON. 


REMBRANDT VAN RIJN 


83. REMBRANDT, WITH TURNED up Hat AND EMBROIDERED MANTLE. 
1634. Etching. 


Bartsch, No. 7. 

FINE IMPRESSION. 

Height, 55g; width, 5 inches. 
From the Robert Hoe collection. 


REMBRANDT VAN RIJN 
84. Tue TriumpH OF MorpEcal. (1640-1645). Etching. 
Bartsch, No. 40. 
Onty Stare. Unsigned. Fine impression, with dry-point work 
plainly visible, and with burr. Cut irregular all around and 


slightly inside of etched border at sides, which does not interfere 
with etching. 


Height, 613/16; length, 83 inches. 


From the Townsend collection. 


Sale Friday Evening, March 26th 


REMBRANDT VAN RIJN 
85. Tus ANGEL ASCENDING FROM Tosit AND His Faminy. 1641. Etching. 
Bartsch, No. 48. 


Srconp Stare (of four states). Signed and dated—‘1641.’ Before 
the additional work in many parts of the plate. FINE IMPRESSION 
and in perfect condition. Very narrow margin all around. 


Height, 43/16; length, 61¢ inches. 


From the Townsend collection. 


REMBRANDT VAN RIJN 
86. Curist PreacHine. Etching. 
Bartsch, No. 67%. 


Srconp Stare. Superb impression with burr, very narrow margin 


all around. 

Height, 614; length, 814 inches. 

From the A. Firmin-Didot, Peoli and Robert Hoe collections. 

The date assumed for this print is 1652, which would place it in Rem- 
prandt’s last period. It seems very carefully wrought, however, to be 
assigned to so late a period. 

“Though less important than the Hundred Guilder print, the ‘Christ 
Preaching’ is certainly as strong as, if not stronger than, its great com- 
panion in its drawing of human character. The profound attention of 
the assembly, the marvelous expressions of their faces as they listen to 
the words of Christ, make an impression upon us that cannot be forgotten.” 
—ATHERTON CURTIS. 


REMBRANDT VAN RIJN 
9”. Curist Heatine THE Sick (The Hundred Guilder Print). Etching. 
Bartsch, No. 74. 
Srconp Srate (of four states). Brilliant impression with good 
margins, 3/16 at top and sides and 3% at bottom, and in unusually 
fine condition, unstained. The shadows have been enriched. 


Height, 1114; length, 1534 inches. 

From the Townsend collection. 

This is usually accredited Rembrandt’s masterpiece, and the master- 
piece of all etchings. 

There are known of possibly eight proofs in the First State. The 
print is undated, and is assumed to be done in 1650. 

“‘Christ Healing the Sick’ stands out by itself. Not only is this 
Rembrandt’s masterpiece, but it is considered one of the greatest works 
of art the world has ever seen. To say that it has never been surpassed 
in etching would not do it justice. It has never been surpassed in any 
form of art and is not likely to be.... Here we see Rembrandt at his 
best, as a draftsman, Such drawing as this, without a hesitating line 
from beginning to end is no accident... while the expression of the 
faces are rendered in a way that Rembrandt, great as he was in charac- 

[Continued 


Sale Friday Evening, March 26th 


[No. 87—Continued | 
ter drawing, never equalled in etching save in one instance. The 
appealing looks of the sick and crippled, and the contrast between the 
group of Christ’s followers at His right hand, and the group of the cold, 
unmoved faces besides them are sources of endless study.” ATHERTON 
CURTIS. 

“Tt is no mere sunlight that in one place envelops the figures, almost 
without a shadow, and in another casts its faint reflection on the groups 
that are emerging from darkness; it is the light of Redemption shining 
on the darkness of human existence.’—H. Knackruss’s “Rembrandt,” 
Dp. 126; 

The plate afterwards retouched by Captain Baillie can be distinguished 
by the size, viz. 11 by 15% inches. 


[See Llustration | 


REMBRANDT VAN RIJN 
88. Curist PRESENTED TO THE PEOPLE. 1655. Etching. 
Bartsch, No. 76. 


SeventH Strate. The mask between the two arches of the vault is 
covered with horizontal lines, but the plate is covered with burr. 
An exceedingly fine impression of this rare plate. It has been 
folded in the middle and the seam carefully reinforced top and 
bottom. The print has a 3-inch tear and a slight tear to left at 
top, and two small tears at bottom. Very narrow margin all 
around. 

Height, 14; length, 17% inches. 

Frou the John Barnard and Robert Hoe collections. 

The noble, impressive character of the plate in this state seems to be 
due in part to the combination of the balanced groups of figures with 
the ancient Roman architecture of vast, massive proportions, and the 
awful significance of the scene portrayed; the venom and fury of the 
populace, the hypocrisy of Pilate, and the meekness of Christ, all vividly 
portraying human emotions. 

Though this plate was not carried to the same state of completion as 
some of the artist’s other plates, it, nevertheless, in its broad compre- 
hensive scope, impresses and fascinates the gazer with awe and reverence, 
and at the same time with admiration for the artist’s conception of the 
subject. 


REMBRANDT VAN RIJN 
89. THE DESCENT FROM THE Cross. By TorcHLIcHT. LHtching. 

Bartsch, No. 838. 

Seconp Statg. “A Night Scene.” With a set of regular diagonal 
burin lines in the upper part of the plate. PxrrEor, with small 
margin. 

Height, 8 7/16; width, 6 7/16 inches. 


From the Robert Hoe collection. 


[18 ON] 
PIS oY} SulpwVey IMYyO 
NfId NVA LONVUANAA 


Re: 


Sale Friday Evening, March 26th 


REMBRANDT VAN RIJN 
90. DEATH OF THE VirGIN. 1639. Etching. 

Bartsch, No. 99. 

Srconp Srarp. In fine condition, good margins, unstained. The 
small oval on the base of the left bedpost is still unshaded with 
vertical lines, while the chair in the lower right corner is fully 
shaded. About 1/16 margin all around. 

Height, 155g; width, 12 7/16 inches. 


REMBRANDT VAN RIJN 
91. An Artist DrawrnG From A Mopet. Etching. 
Bartsch, No. 182. 


Seconp Srare. On brown-toned paper, upper part of easel now 
shaded, the lower left corner torn off about 1 by 7 inch and neatly 
repaired with same tone paper. 


Height, 93¢; width, 7 5/16 inches. 


REMBRANDT VAN RIJN 
92. A NupE WoMAN SEEN FRoM BEHIND. Etching. 
Bartsch, No. 205. 
Turrp Strate. With the retouch that covers all the blank space 
along the upper edge. Very narrow margin all around. 
Height, 314; width, 6 5/16 inches. 


From the Robert Hoe collection. 


REMBRANDT VAN RIJN 
93. Tue Mitu. 1641. Etching. 
Bartsch, No. 233. 


Onty Srars. Fine and early proof. With the sulphur tint in the 
sky. In perFrEcT conDITION. Signed and dated—1641’ Very 


narrow margin all around. 
Height, 58; length, 8 5/16 inches. 

From the Townsend collection. 

“And in ‘The Wind-Mill’ Rembrandt found a perfect subject. There 
is no adventitious impressiveness lent by strong effort of light and shadow 
in this beautiful plate; all is plain and simply rendered. But we have 
only to compare this etching with the etchings of some of Rembrandt’s 
immediate predecessors, like Jan and Hssaias Van de Velde, to see the 
difference, not only between a great and an average artist, but between a 
great and commonplace etcher. This picturesque tracery of a windmill’s 
sails and timber work are seen and enjoyed in Van de Velde’s plates, but 
how much more than this is in Rembrandt’s ‘Mill,’ etc.”—LAURENCE 
Brnyon. Ass’t Keeper of the Prints in the British Museum. 


[See Illustration | 


ae 


i, 


REMBRANDT VAN RIJN 


The Mill 


[No. 93] 


Sale Friday Evening, March 26th 


REMBRANDT VAN RIJN 


94. Dr. Faustus. Etching. 
Bartsch, No. 270. 
Tuirp Starr. On brown-toned paper, with quarter inch margins. 
Slight stains throughout print. 
Height, 8%; width, 6% inches. 


REMBRANDT VAN RIJN 


. 


95. JAN Lutma. 1646. Etching. 
Bartsch, No. 276. 
Srconp Starr. Signed by Rembrandt. A very fine impression on 
India paper, with good margins. The window frame is now 
etched in, with jar standing on the windowsill. In perfect condi- 
tion. VERY Rare. 
Height, 814; width, 6 inches. 


From the Dutcher collection. 


[See Illustration | 


ERNEST D. ROTH 


Contemporary American painter and etcher. Born in 1879. 


ROTH, ERNEST D. 
96. Ca’ D'Oro, VENICE. Etching. 
Artist’s Signed Trial Proof. 
Height, 9; length, 11% inches. 


ROTH, ERNEST D. 
9%. Campo Marcuerita. Etching. 
TriaLt Proor. Signed,—Hrnest D. Roth 1913. 
Height, 7%; length, 107% inches. 


ROTH, ERNEST D. 
98. PonrE pEL Trinita. Etching. 
Tria Proor. Signed,—Hrnest D. Roth, 08. 
Height, 9; length, 11 inches. 


“There is something more winning about the study of the Trinita 
Bridge with its light arches... it is a lovely bit of drawing and inter- 
pretation, and I have often felt that the mere shortening of the plate at 
the right would make of this admirable study a little masterpiece. I 
had the pleasure of seeing the prints I had studied in trial states holding 
their own at the Venice International, and I learned that the Queen 
Mother, Margherita, one of the best eyes in Italy, had bought several of 
the etchings.”—FRANK JEWETT MATHER JR. 


——, - 


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Jan Lutma 


No. 95] 


[ 


Sale Friday Evening, March 26th 


ROTH, ERNEST D. 
99. Ponrr VEccui0. Etching. 
Trrat Proor. Signed,—Hrnest D. Roth 0%. 


Height, 98¢; length, 12 inches. 


“We see him nearly at his best in the print ‘Ponte Vecchio,’ with its 
dense shadows and swirling dark river, and this splendid plate is not in 
the ordinary sense drawn, but fully painted with the needle and the 
acid. Roth’s manner of applyi ing the acid is again that of a painter. 
Instead of the conventional three baths, he applies the acid with a feather, 
touch by touch, with blotting paper at hand. By this hazardous pro- 
cedure, which is virtually that of Whistler, values are multiplied. Where 

most etchings will show three main values, or at most five, any elaborate 
print of Roth’s will show a dozen. When successful, tones and textures 
are achieved that fairly rival those of painting.” —FRANK JEWETT 
MATHER JR. 


ROTH, ERNEST D. 
100. Rernections. VENIcE. Etching. 
TrraLt Proor. Signed,—frnest D. Roth Venezia, 706. 
Height, 57; length, 98% inches. 
“Roth’s Venice plates make a more experimental effect upon me. He 


has, apparently, under the influence of Whistler, done some plates of 
charming slightness.’—FRANK JEWETT MATHER JR. 


ROTH, ERNEST D. 
101. Star Zapt—Mosaque, StamBouu. Etching. 
Trial Proof. Signed,—Hrnest D. Roth Stambul 1908. 
Height, 8; length, 8144 inches. 


“Speaking of ‘the delightful and accomplished etchings (scenes on the 
Bosphorus) in the artist’s thirtieth year,... here the old analytic 
method has been abandoned and the most is made of the single contour.” 


ROTH, ERNEST D. 
102. THE Burtress, PoNTE TRINTTA. Etching. 
TrraL Proor. Signed,—Hrnest D. Roth. 
Height, 1034; width, 103 inches. 


ROTH, ERNEST D. 
103. Tue Lirrte Mosquz, ConsTANTINOPLE. LHtching. 
Trrat Proor. Signed,—Hrnest D. Roth: Stambul 1908. 
Height, 844; width, 8 inches. 


Sale Friday Evening, March 26th 


JOSEPH MALLORD WILLIAM TURNER 


Celebrated English painter. Born, 1775; died, 1851. “The ‘Liber Stu- 
diorum’ was intended by Turner from the first to be a series, not of 
sketches, but of fully finished pictures; and these pictures were to 
illustrate his whole range of powers, and to embrace every sort of sub- 
ject of which he considered himself master.... The ‘Liber Studiorum’ 
came forth a truly monumental work, taking rank with the highest pro- 
ductions of Turner’s genius.”—W. G. RAWLINSON. 


TURNER, JOSEPH M. W. 
104. Tue Firrn Puacur or Ecyrr. Etching. 
Rawlinson, No. 16. 


Proor. Firsr State. Drawn and etched by J. M. W. Turner, and 
mezzotinted by Charles Turner. Fine impression, in perfect con- 
dition. 


Height, 81¢; length, 11% inches. 
From the Robert Hoe collection. 


TURNER, JOSEPH M. W. 
105. Tur Sun Berween THE TREES. Original Sepia Drawing. 
Very fine example of his well known and desirable style. 
Height, 534: length, 85 inches. 

From the Allis collection. 

One of the charming subjects intended for the Liber Studiorum, begun 
by Turner in 1807, and which were published at intervals up to the year 
1819. “The method employed in the production of the work was, first,— 
Turner made drawings in sepia or bistre, of the subject to be engraved ; 
some of these were taken from pictures which he had already painted, 
put the majority were executed expressly for the work. He next etched 
with his own hand the copper plate from these designs, from which trial 
proofs were pulled, and often ‘touched’ by the artist in sepia, when 
changes were desired, writing his reasons for the alterations on the 
margin. 

The above is the original sketch of the subject before the etching of 
the plate. When mezzotinting was completed to Turner’s satisfaction, 
lettering would be added to the plate and printing would commence. 

Out of the hundred plates originally planned, only seventy-two had 
been issued ; eight had not even been carried further than the drawings ; 
and eleven, in various stages of completion, were left unfinished in 
Murner’s studio at the time of his death in 1551. 

After a litigation over his will lasting more than twenty years, these 
drawings, proofs, and unfinished plates, etc. were sold at Christie’s and 
the total amount realized by the stock of Liber Studiorum alone was 
nearly 18,000 pounds.”—W. G. RAWLINSON. 


Sale Friday Evening, March 26th 


CORNELIUS VAN DALEN JR. 


Flourished at Amsterdam from 1642 to 1665. 


VAN DALEN, CORNELIUS JR. 
106. GrovANNI Boccaccio. Line engraving. 
Andresen, No. 9. 
First Strate. Superb Proof before all letters. 
Height, 1614; width, 111% inches. 


From the Brayton Ives collection. 


ANTON VAN DYCK 


Celebrated Flemish painter and etcher. Born at Antwerp, 1599; died at 
London, 1641. “Van Dyck stands out as the solitary great etcher of the 
Rubens School. Portrait-etching had scarcely had an existence before his 
time, and in his work it suddenly appears at the highest point ever reached 
in the art.”—A. M. HInNp. 


VAN DYCK, ANTON 
108. JAN BreucHEL. Engraving. 
Dutuit, Vol. IV, pp. 158-9. 
Tuirp State. Before the letters ‘G. H.’ Very fine impression. Cut 
to plate mark. 
Height, 914; width, 6 inches. 
From the Robert Hoe and Dr. W. Ackerman collections. 


CHARLES ALBERT WALTNER 


French etcher. Born at Paris, 1846. Pupil of Henriquel-Dupont, Gérome, 
and Martinet. : 


WALTNER, CHARLES ALBERT 
109. JACQUELINE DE CorpEs. Etching. After painting by Rubens. 
Proof before letters. Fine impression on imperial Japan paper. 
Height, 1214; width, 1014 inches. Framed. 
Beane, oF AN UNKNowNn Man. Etching. After painting by Frans 
Hals. 

Proof before letters. Fine impression on imperial Japan paper. 
Height, 1214; width, 1014 inches. 


Together, 2 pieces. 
From the Robert Hoe collection. 


JAMES ABBOTT McNEILL WHISTLER 
The Kitchen 
[No. 112] 


“2 


Sale Friday Evening, March 26th 


JAMES ABBOTT McNEILL WHISTLER 


Celebrated American painter and etcher. Born in Lowell, Mass., in 1834, 
died at London, in 1903. “With the master-etchers of the world—Meryon’s. 
equal in some respects, and, in some respects, Rembrandt’s—there stands 
James Whistler. Connoisseurs in France and England, in America, Hol- 
land, Bavaria, concede this now.”—FREDERICK WEDMORE. 

‘All his work is alike perfect. It has only been produced under different 
circumstances and is an attempt to render different effects or situations. 
Therefore the methods vary, but the results are always the same—great. 
The greatest, most perfect, as a* whole, that any etcher has ever accom- 
plished.”—JoOsEPH PENNELL. 


WHISTLER, JAMES ABBOTT McNEILL 
110. En Piern Sortert! Etching. 

Kennedy, No. 15. 

SECOND State. A very fine and early impression on white China 
paper. One of the French set. Imp. ‘Delatre.’ Has the stamps 
of the ‘MacGeorge’ and ‘J. C.’ (Cox) Collections. 

Height, 3%; length, 514 inches. 

The finer copy from the Dutcher collection. 


WHISTLER, JAMES ABBOTT McNEILL 
111. La VrieLie aux Loguss. Etching. 

Kennedy, No. 21. 

SECOND State. A very fine impression, on yellow China paper. 
Before the removal of Delarte’s name and address. One of the 
French Set. 

Height, 814; width, 534 inches. 
From the Dutcher collection. 


WHISTLER, JAMES ABBOTT McNEILL 
112. THe KitcHen. Etching. 

Kennedy, No. 24. 

Artist’s Signed Proof with the “Butterfly.” First Stats. A bril- 
hant impression in brown ink on white China paper. Before the 
extra shading in the lower left base. Extremely Rare. One of 
the French Set. 

Height, 8%; width, 644 inches. 

From the Dutcher collection. 
No doubt the finest etching of Whistler’s early period, generally known 


as the French Set, and by some considered, because of its finished and 
graphic completeness, never surpassed by his later productions. 


{See Illustration ] 


Sale Friday Evening, March 26th 


WHISTLER, JAMES ABBOTT McNEILL 
113. SEyMouR STANDING UNDER A TREE. Etching. 
Kennedy, No. 31. 


Proor. SECOND Stare, with the word “Seymour” in lower left 
corner. Seymour is here standing with his legs apart. In the 
third state his legs are together, though the artist did not change 
the shadows in the water. 


Height, 5144; width, 384 inches. 


WHISTLER, JAMES ABBOTT McNEILL 
114. GreeNwicH PENSIONER. Etching. 

Kennedy, No. 34. 

Artist’s Signed Proof, with his pencilled “Butterfly,” and his auto- 
graph inscription,—“Greenwich Pensioner.” The double pencil 
signature on this print is a very unusual feature. UNIQUE UNDE- 
SCRIBED TRIAL PROOF. 

Height, 313/16; length, 514 inches. 

From the Dutcher collection. 
Unknown at the time the Grolier Club Catalogue was issued, but added ~ 
as a supplement with three or four more, later described from this print. 

Before the delicate horizontal dry-point lines across the top of the plate, 

and the heavy work on the right arm near the shoulder; also before the 

removal of the various lines at the left of the figure, especially the 


double outline of the right arm. There were other changes throughout 
the plate, which seems to have been freely burnished down later. 


WHISTLER, JAMES ABBOTT McNEILL 
115. Eacre WuHarr. Etching. 

Kennedy, No. 41. 

Proor oF THE ONLY Strate. Very fine impression on old paper. 
One of the Thames Set. 

Height, 534; length, 814 inches. 
From the Dutcher collection. 
“T would even say that it is the greatest etching of modern times, were 

it not for the fact that it is but one of the set known as “The Thames 


Series” etched by the master some thirty-five years ago.”—JOSEPH 
PENNELL, in a letter to the London Chronicle Feb. 22, 1895. 


WHISTLER, JAMES ABBOTT McNEILL 
116. Becquet, THE FippLER. Htching. 
Kennedy, No. 52. 
THirp Stare. Superb impression on old French paper. One of the 
Thames Set. 
Height, 10; width, 714 inches. 
“Sir Seymour Haden, who could certainly be trusted not to overpraise 
[Continued 


Sale Friday Evening, March 26th 


[No. 116—Continued | 
Whistler’s work, said of this plate,—‘Rembrandt never did anything 


finer.’ 

“The figure of the violin-cellist is merely indicated with a few swift 
lines, but the head is fully elaborated with an incomparable minuteness 
and fineness of touch. The more closely it is examined the more com- 
plete and finished it appears, the more beautiful its workmanship.”’— 
Mrs. SCHUYLER VAN RENSSELAER. 

“Whistler told me that this plate was originally an oblong etching of 
West Point, made by an old class-mate, who brought it to him for his 
opinion. Whistler scraped off the view of West Point and put Becquet in 
its place; why, he did not say. At the lower right corner the stacked 
muskets may still be faintly seen.”—FREDERICK KEPPEL. 


[See Illustration | 


WHISTLER, JAMES ABBOTT McNEILL 
117. Venus. Etching. 
Kennedy, No. 59. 
Superb Proof on Japan paper. 


Height, 6; length, 9 inches. 
From the Robert Hoe collection. 


WHISTLER, JAMES ABBOTT McNEILL 
118. Mitypanx. Etching. 
Kennedy, No. 71. 
Signed Artist’s Proof, on old Dutch paper, with the artist’s auto- 


eraph inscription—*‘A. Elmore, R.A. With the compliments of 
J. Whistler.” One of the Thames Set. 


Height, 4; length, 5 inches. 


From the Robert Hoe collection. 


WHISTLER, JAMES ABBOTT McNEILEL 
119. Tur Storm. Etching. 
Kennedy, No. 81. 
Proof, printed on “papier verdatre.” Excessively Rare. 
Height, 614; length, 1114 inches. 


From the Greaves collection. 


WHISTLER, JAMES ABBOTT McNEILL 
120. Sxrtcuine. Etching. 

Kennedy, No. 86. 

Suconp Srate (of five states). Fine Proof before all letters, on 
Plate paper. This plate in the later state was published in “Pas- 
sages from Modern English Poets,” illustrated by the Junior 
Etching Club, 1862. The subject is that of Delannoy sketching. 

Height, 411/16; length, 63g inches 
From the Robert Hoe collection. 


EHILL WHISTLER 
the F 


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JAM 


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Becquet, 


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[No 


Sale Friday Evening, March 26th 


WHISTLER, JAMES ABBOTT McNEILL 
121. St. James Street. LHtching. 
Kennedy, No. 169. 


With the etched “Butterfly” in the lower left corner. A view down 
the street, with St. James palace at the far end. It was after- 
wards reproduced in “Vanity Fair,” in 1878, but in reverse. 


Height, 11; width, 6 inches. 


WHISTLER, JAMES ABBOTT McNEILL 
122. Tur ADAM AND Eve, CHeEtsEa.. Etching. 
Kennedy, No. 175. 
Proor. Onty Stars. Beautiful impression on straw colored Japan 
paper. One of the Thames Set. 
Height, 67,3; length, 11% inches. 
From the Greaves collection. 


WHISTLER, JAMES ABBOTT McNEILL 
123. FutHam. Etching. 
Kennedy, No. 182. 
Proof printed on Japan paper. 
Height, 5 3/16; length, 8 inches. 
From the Greaves collection. 


WHISTLER, JAMES ABBOTT McNEILL 
124. Tur Doorway. Etching. 
Kennedy, No. 188. 


Signed Artist’s Proof, with the pencilled “Butterfly.” SECOND 
State (of seven). Very beautiful impression printed on 17th 
century paper, which Whistler would procure by tearing the fly- 
leaves out of old tomes. Printed in warm tone ink. Three slight 
tears in lower margin, about 84-inch margin all around, which is 
unusual on Whistlers of this period. 


Height, 1114; width, 8 inches. 


From the Dutcher collection. 

Evidently a trial proof printed by Whistler, before its issue as one of 
the set, as the margins are not cut close to the plate mark, as at that 
time he began to do, but are left broad. In a later state this is one of 
the ‘“‘Venice Sets.”’ 

The French critics were the first to appreciate the work of Whistler, 
and it was one of them who characterized this plate as “the most bril- 
liant of the Master’s jewels.” It was while looking at the “Venice Set” 
that Sir Seymour Haden was asked “what he would do if forced to 
choose between the Rembrandts and his Whistlers,” his reply was that 
“the Rembrandts would go first.” 

It was from this print that the reproduction was made for the Grolier 
Club Catalogue of Whistler’s etchings, compiled by Mr. E. G. Kennedy. 


[See Illustration | 


JAMES ABBOTT McNEILL WHISTLER 
The Doorway 
[No. 124] 


Sale Friday Evening, March 26th 


WHISTLER, JAMES ABBOTT McNEILL 
125. THE Two Doorways. Etching. 
Kennedy, No. 193. 


Rare Proof, taken from the cancelled plate, which is done in Whis- 
tler’s ingenious way of drawing a large butterfly which is a more 
illusory detraction, than real. BrautTiruL Impression. Cut to 
plate line. 

Height, 8; length, 1114 inches. 


From the Greaves collection. 
One of the Venetian Set. 


WHISTLER, JAMES ABBOTT McNEILL 
126. THE Mast. Etching. 
Kennedy, No. 195. 


Artist’s Signed Proof, with his pencilled “Butterfly.” One of the 
“Twelve Etchings.” A splendid impression on water-marked 


paper, 1n warm tone ink. 
Height, 133g; width, 63 inches. 

“Not only were the latest states of the Venice plates, as a rule, most 
satisfactory to Whistler, because they were the result of his final criti- 
cisms, but he specially requested that the ‘Venetian Mast’ be represented 
at the World’s Fair in Chicago by an impression of the latest state. In 
1893, when the list of his representative etchings selected for exhibition 
at the Fair was submitted to him, he substituted for the ‘Riva No. 2’ the 
‘Venetian Mast,’ in the last state, with the comment ‘more important’.”— 
HowaARD MANSFIELD. 


[See Illustration | 


WHISTLER, JAMES ABBOTT McNEILL 
127. THe Limenouse. Lithograph. 
Kennedy, No. 40. 
Extremely rare and beautiful impression. 
Height, 634; length, 101% inches. 

From the Brayton Ives collection. 

The identical lithograph shown at the Paris “Exposition des Oeuvres de 
James McNeill Whistler,” in 1905, in the original frame and the label on 
the back. 

Apart from the opinions that Mr. Way gathered from Whistler, while 
so many of the lithographs were passing through Mr. Way’s press, not 
many preferences for special prints have been recorded, but Mr. Way 
writes (after mentioning some of the more easily procured impressions ) —— 
“then if the budding collector will acquire the original set of six litho- 
graphs issued in 1887, as Art Notes, consisting of two of the finest of 
Whistler’s lithographs, ‘Limehouse,’ and ‘Nocturne,’ he will not be Ssatis- 
fied until, etc... . It is the writer’s firm conviction that in the reproductive 
side of his art, Whistler did his best work in his lithographs... he can 
in this process use a variety of tools, a crayon with a sharp or broad 
point, a stump or a brush, and Whistler used each and all, and obtained 
results which had not been even attempted before.” 


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Sale Friday Evening, March 26th 


ANDERS ZORN 


Swedish painter and etcher. Born at Mora in Dalecarlia in 1860. “But 
it is in his etchings that the art of Anders Zorn is seen in its highest 
vigor, creativeness and sureness of hand, whether these etchings be done 
directly from nature or are transcriptions of his masterly paintings. 
Lines apparently scribbled at random, and which might seem to harshly 
gash the copper-plate, result in a whole, which is strong, clear, and vivid, 
and the etchings present pictures expressing the most delicate and fleeting 
phases of expression and gesture.”—HENRI MARCEL. 


ZORN, ANDERS 
128. Ar THE Piano. Portrait or Miss ANNA Burnett. Htching. 
Delteil, No. 159. 


Artist’s Signed Proof. Srconp State, on Dutch paper. BEAUTIFUL 
IMPRESSION. Sixty or seventy proofs were taken and plate des- 
troyed. 

Height, 734; width, 5% inches. 

From the Dutcher collection. 

“There is in his work something of childlike spontaneity, a healthy, 
natural enjoyment in the mere practice of his art that is infectious... . 
Zorn, to-day, occupies a position of unchallenged supremacy in the diffi- 
cult and exacting field of portraiture—his portrait etching alone would 
make a notable Pantheon of contemporary worthies.”—J. NILSEN LAURVIK. 


PORTRAITS OF CELEBRITIES 


BALTIMORE, LOCKE AND CHAUCER 
129. Lorp Battimorr. Engraved by A. Blotling. 
JoHN Locks. Engraved by Tanze. 
Grorrroy CHAucER. Engraved by J. Thompson. 
Engraving by W. Finden, and one other. All fine impressions. 
Average size. Height, 7; length, 9 inches. 
Together, 5 pieces. 


BROWNING, CARLYLE AND DICKENS 
130. ExizaserH Barrett Brownina. Engraved by S. Hollyer. 

Height, 7; width, 5 inches. 

ELIZABETH Barrett Browninc. Engraved by S. Hollyer. 
Height, 814; width, 51% inches. 

THomMas Cartyte. Engraved by S. Hollyer. 
Height, 7; width, 5 inches. 

‘Cuartes Dickens. Engraved by 8. Hollyer. 
Height, 8; width, 5 inches. 


All proofs, each one signed by the artist in pencil, on lower margins. 
Together, 4 pieces. 


Sale Friday Evening, March 26th 


BRYANT, LOWELL AND WHITTIER 
431. Wi~tLiAM CuLLEN Bryant. Etching by Jacques Reich. Proof, on 
Japan paper, signed on lower margin in pencil, from the copper,— 
Jacques Reich. Fine impression. 
Height, 1414; width, 1034 inches. 
JAMES Russet Lowetn. Etching by Jacques Reich. Proof, on Japan 
paper, signed on lower margin,—Jacques Reich 11th. Proof. 
Height, 1414; width, 1014 inches. 
Joun G. Wuirrrer. Etching by Jacques Reich. Proof, printed on 
parchment, from the copper, signed on lower margin in pencil,— 
Jacques Retch. 
Height, 16; width, 10 inches. 
All from the Holden collection. 


BUNYAN AND JOHNSON 
132. Jonn Bunyan. Line-Engraving. Fine impression, showing about 
one-eighth inch margin all around. 
Height, 1234; width, 71% inches. | 
SamvuEL JoHNsoN. Engraved by Thomas Cook, after the painting by 
Sir Joshua Reynolds. Published 1798. Paper slightly foxed. 


Height, 16; width, 10 inches. 
Both from the Holden collection. 


BURKE AND OTWAY 
133. Toe Ricur HonorasLeE Epmunp Burks. Mezzotint by H. Kings- 
bury. Fine impression, paper slightly foxed. Published 1798. 


Height, 914; width, 714 inches. 


Tuomas Orway. Mezzotint after Peter Lely. Fine impression, cut 
to plate mark. 
Height, 1314; width, 934 inches. 
Together, 2 pieces. Both from the Holden collection. 


BYRON AND LAMB 
134. Lorp Goran Gorpon Byron. Mezzotint, engraved by William Sar- 
tain. Proof, on India paper, signed on lower margin in pencil,— 


William Sartain. Fine impression. 
Height, 13; width, 10 inches. 
Porrrair or CHartes Lams. Mezzotint, engraved by William Sartain. 
Proof, on India paper, signed on lower margin,—Wdaliam Sartatn. 
Height, 13; width, 10 inches. 


Together, 2 pieces. Both from the Holden collection. 


Sale Friday Evening, March 26th 


CHAUCER, DIBDIN AND JOHNSON 
135. Porrrarr of Grorrroy CHavucer. Carbon Print. 
Height, 12; width, 914 inches. 
Rev. Tuomas Frocnatut Dippin. Lithograph by Lowes Dickerson. 
Fine impression on India paper. 
Height, 1134 ; width, 914 inches. 
BENJAMIN JOHNSON. Engraved by George Virtue. Fine impression, 


good condition. 


Height, 1414; width, 10 inches. 
Together, 3 pieces. 


COROT AND COURBET 


136. JeEAN-BaprisTE CAMILLE Corot. Etching by E. Bocourt. Artist’s 
proof, fine impression on parchment. 


Height, 1014; width, 784 inches. 


GustavE Courser. Etching by E. Bocourt. Artist’s proof, fine 
impression on parchment. 


Height, 1014; width, 8 inches. 


Together, 2 pieces, both from the Robert Hoe collection. 


COSTER AND VIRTUE 
137. JoHN Mitton. Engraving. 


Fine impression, oval, over tablet with six line inscription, from 
Dryden. 


Height, 584; width, 314 inches. 

From the Robert Hoe collection. 
JoHN Locke. Line Engraving. 

Early proof. Finr Impression. G. Kneller pinx. G. Virtue sculp 
1738. 

Height, 1414; width, 914 inches. 
From the E. B. Holden collection. 
Together, 2 pieces. 


DIBDIN AND MOORE 
138. Rev. THomas Frognatt Dippin. Line Engraving by Henry Meyer, 
after painting by Henry Eldridge. Published 1816. Fine impres- 
sion. 


Height, 11; width, 6 inches. 
[Continued 


Sale Friday Evening, March 26th 


| No. 188—Continued | 

RigHt REVEREND JoHN Moore. Mezzotint. Engraved by William 
Faithorne the Younger. Fine impression, before the inscription 
was changed. Cut to plate-mark, two lower corners torn off, very 
small new pieces added. 

Height, 1314; width, 10 inches. 

John Moore was Bishop of Norwich in 1691. 
Together, 2 pieces. 


DICKENS, CHARLES . 
139. Porrratit or CHarLEs DickENs. Mezzotint, engraved by Thomas O. 
Barlow. 
Proof before all letters, fine impression on India paper. Rare. 
Height, 16144; width, 1314 inches. 


Krom the Brayton Ives collection. 


DICKENS AND LONGFELLOW 
°140. Cuartes Dickens. Etching by Paul Rajon. Proof, on Japan paper, 
signed on lower margin in pencil,—fajon. Fine impression. 
Height, 16; width, 12 inches. 
Henry Lonerettow. Engraving by Charles K. Burt. Fine impres- 
sion, on India paper. Published 1883. 
Height, 13; width, 10 inches. 


Together, 2 pieces. 


DRYDEN AND SWIFT 
141. Joun Drypen. Mezzotint, engraved by William Faithorne. Fine 
impression, cut to plate-mark all around. 
Height, 914; width, 7 inches. 
JoNATHAN Swirt. S.T.D. Mezzotint, engraved by John Bowles, after 
the painting by Peter Pelham. Fair impression, full margin. 
Height, 12; width, 934 inches. 
Dean of the Cathedral Church of St. Patrick, Dublin. Altered plate of 


Simon, head of Swift inserted. 
Together, 2 pieces. 


EMERSON AND WALT WHITMAN 
142. Rate Watpo Emerson. Etching by T. Johnson. Proof, brilliant 
impression, signed on lower margin in pencil,—T. Johnson. 


Height, 14; width, 11 inches. 
Watt Wuitman. Etching by T. Johnson. Proof, fine impression, 
signed on lower margin in pencil,—T. Johnson. On India paper. 
Height, 1314; width, 81% inches. 
Together, 2 pieces. 


Sale Friday Evening, March 26th 


FRANKLIN AND WASHINGTON 


143, BengamMin Franxury. Engraved by John A. O’Neill, drawn by ON. 
Cochin, 1777. Published by Elias Dexter, 1856. New York. 


Height, 1214; width, 101% inches. 
GENERAL GrorcE WASHINGTON. Engraving, from the painting by 
Gilbert Stuart. 
Height, 16144; width, 1244 inches. 


Together, 2 pieces, both from the Holden collection. 


FRANKLIN AND WEBSTER 


144, BENJAMIN FRANKLIN. Engraved by John A. O’Neill, drawn by C. N. 
Cochin, 1777, Published by Elias Dexter, New York, 1865. 


Height, 1214; width, 101% inches. 
DantEL Wepsster. Etching by F. 8. King. Proof on Japan paper, 
signed on lower margin in pencil,—/F’. S. King. Fine impression. 
Height, 15; width, 12% inches. 
Together, 2 pieces. 


HAWTHORNE AND POE 


145. NarHanreL Hawrnorne, about 1862. Etching by Henri Lefort. 
Proof, on Japan paper, with remarque, and title in red. Fine 
impression. Published 1895. 


Height, 1134; width, 934 inches. 
En@ar ALLAN Por. Etching by Henri Lefort. Proof on parchment, 


with the remarque, one of the 75, signed,—Henri Lefort. Fine 
impression. Published 1894. 


Height, 1284; width, 9 inches. 
Together, 2 pieces. 


HOLL, FRANCIS 
146. Witt1aAmM THACKERAY. Engraving. 


Proof before letters, fine impression on India paper. Drawn by 
Samuel Lawrence. 


Height, 18; width, 15 inches. 
From the Holden collection. 


LINCOLN, ABRAHAM 
147. ApraHAM Lincoun. Etching by T. Johnson. 


Proof, printed on parchment, signed on lower margin in pencil,-— 
T. Johnson. Fine impression. 


Height, 1444; width, 111% inches. 


Sale Friday Evening, March 26th 


REVERE, PAUL 
148. Paut Revert. Drawn and engraved by F. 8. King, for the Society of 
Iconophiles, New York. 1899. Fine impression. 
Height, 9; width, 57% inches. 


SCOTT, SIR WALTER 
149, Sir Waurer Scorr. Line and stipple engraving, by William Walker. 
Apell, No. 4. 
Open letter proof, after Sir Henry Raeburn. Fine impression. 
Published October 1st, 1826. 


Height, 15; width, 11 inches. 


WILSON AND TAFT 


150. Presipent WiLson AnD Ex-Prestpent Tart. Photographs, auto- 
graphed by each in lower margins, in ink,—Woodrow Wilson, and 
Sincerely Yours, Wm. H. Taft, respectively. 

Height, 1184; width, 81% inches. 


PERRIN, FEYEN 


151. Proof etchings, all fine impressions. 15 pieces; [Aso] Proof etchings 
by Charles Waltner, Salmon, Lalauze, Dessain, J ausseulher, and 
A. Dansel. 6 pieces. All nudes. Together, 21 pieces. 


VARIOUS ETCHERS 


152. HERKOMER, HUBERT. Restine. Etching. Proof. Signed on 
lower margin in pencil,—/Tubert Herkom. Fine impression, paper 
slightly aged. 

Height, 12; width, 81% inches. 
HOWES, E. TOWNSEND. Own THE Serve. Etching. Proof, signed 


on lower margin,—F. Townsend Howes. Cut to plate mark at 
top and sides. 


Height, 4; length, 734 inches. 
ANONYMOUS. L’Assipz. Etching. Copy of Meryon, a smaller 
plate. 
Height, 5; length, 984 inches. 
ALMA-TADEMA, L. THe Lure Puayrr. Etching. Proof, on 


Japan paper. Signed on lower margin,—L. Alma-Tadema, dedi- 
cated to W. B. Scott. 


Height, 8; width, 614 inches. 
Together, 4 pieces. 


Sale Friday Evening, March 26th 


WATERCOLORS 


WATERCOLORS 


153. OrtENTAL Vista, by Corner; PLactp WarTErs, by J. Varley; WazErorD, 
by Emma 8. Oliver. Signed. Oval; Hastines, by John Mogford. 
1864. Signed; Harvestine, by Maplestone; River ScENB, by 
W. R. Barten. 1865. Signed; Harvest Scent, THE WALL, by B. 
Thetwall. 1869. Signed. Average size, 5 by 8 inches, Together, 


7 pieces, on large cardboard mounts. 


Little gems of unusual quality, strong yet delicate, well balanced, 
excellent draftsmanship, clear color. 
From the Robert Hoe collection. 


AMERICAN ART ASSOCIATION, 


MANAGERS. 
THOMAS E. KIRBY, 


AUCTIONEER. 


INTELLIGENT APPRAISALS 
FOR 
UNITED STATES AND STATE TAX 


INSURANCE AND OTHER PURPOSES 


THE AMERICAN ART ASSOCIATION 


IS EXCEPTIONALLY WELL EQUIPPED 
TO FURNISH 


APPRAISEMENTS AND INVENTORIES 


OF 


ART PROPERTY, BOOKS, MANUSCRIPTS, JEWELS 
AND PERSONAL EFFECTS OF 
EVERY DESCRIPTION 


AT CHARGES COMMENSURATE 
WITH THE DUTIES INVOLVED 


THE AMERICAN ART ASSOCIATION 
MADISON SQUARE SOUTH 


NEW YORK 
TELEPHONE, 3346 GRAMERCY 


COMPOSITION, PRESSWORK 


AND BINDING BY 


182992 


1920 Mar r.26NeAmWc.1 © 


[hing and engravings 


nu 


- WALTER THOMAS WALLACE 


OF SOUTH ORANGE, NEW JERSEY 


4 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
ON FRIDAY EVENING, MARCH 26rx, 1920 
BY ORDER OF MR. WALLACE 


Beta UNDER THE MANAGEMENT OF | 
_ THE AMERICAN ART ASSOCIATION 
AMERICAN ART GALLERIES 

ics MADISON SQUARE SOUTH 


NEW YORK CITY 


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